When it comes to upgrading equipment in churches these days, year in and year out, audio and sound reinforcement is the category that consistently receives the most attention.

As the first chain of that signal path, microphones should be center stage when it comes to making prudent investment choices. With so many microphones on the market and so many applications for microphone use, it is no wonder that there are as many questions as there are microphones. So, let’s get right down to it and tackle at least one of the most common issues, specifically regarding drums and microphones.

So, should you mic your drums or not?

Let’s face it, drums in worship have been around since King David, and they have never been more prominent than in today’s contemporary worship. Even if volume is an issue, churches are finding great success with combining sound deflection and sound absorption tools with microphones to obtain greater sound quality and control. It may surprise you to know that the budget-minded church can get a multi-paneled acrylic shield, back acoustic panels, and all the microphones needed to mic a complete drum kit for less then $1,000.  By miking the drums, you actually have much more control of the sound and can accentuate the most attractive frequencies better than if you did not mic the drums at all.

Here are some guidelines on how to properly mic your acoustic drums.

Overheads
Believe it or not, this is where you should start. These mics will tell you overall how good the drums sound and how the room is adding or detracting from the sound. You should position two mics on boom stands over the drums. Place one at 10 – 11 o’clock and the other at 1 – 2 o’clock. The height should be 12 to 18 inches above the highest cymbal. Angle the mics down around 45 degrees and pointing toward the center of the kit. The microphone of choice is a condenser microphone with a wide frequency range and flat frequency response. 

Snare
Typically, a dynamic microphone is used here, but there are a couple of nice small condensers that can do a good job here as well. Place the mic at 10 o’clock (2 o’clock if the drums are set up for a left hander) using either a boom or rim mount clip. Position the

microphone 2 inches off the skin and 1 to 2 inches inside the rim pointed toward the center of the head. 

Tom
Generally speaking, you are going to place these microphones just like you did when miking your snare drum, with the exception that the placement should be at 12 o’clock instead of 10 o’clock for rack toms and 2 – 3 o’clock for floor tom. Once again, the microphone most commonly used is a dynamic. If you chose a tighter pattern (hyper-cardioid) vs. just a cardioid pattern, you have better isolation from other drums even if you mic from the top.

Kick Drum
A bad kick drum sound can ruin the entire drum sound and negatively affect the sound of the entire worship band. The kick drum is the main drum that the bass guitar “locks” with to create the music’s groove, so you want to hear the beater. However, the closer you place the kick mic to the beater, the less bass you will have. So, it’s a balance issue. If the kick drum has a front head with a hole in it, or only one head, it is usually best to place the mic inside the drum. Place the mic 2 inches inside the drum (deeper if you are using a boom on a short stand or if the front head is off). The mic should be parallel to the ground and aimed off center. Do not point directly at the beater. Dynamic microphones are most commonly used.

Hi-Hat
It may seem like overkill for live application to mic the hi-hat, but I recommend this whenever possible. If it is truly a budget issue, it can be an option. The overheads will pick this up as well, but many subtleties will be missed without a separate, dedicated mic. A condenser microphone is recommended to maximize a clean high end. Pointing straight down, place the mic at 9 -10 o’clock positioned 3 to 4 inches above the top cymbal’s outer edge when the hat is in open position. 

Remember that these are just recommended guidelines. They are starting points. If a mic and its placement sounds good to you, then that is reason enough to use it that way. Drum microphones properly placed in the worship mix will add greatly to the worship experience.  

Lastly, try before you buy. When shopping for microphones, try to find an independent dealer near you who will let you try a system at a rehearsal or service. Do not just make a purchase simply because you have heard of the brand. Compare models and brands, and, in the final analysis, trust your ears.

Here’s hoping that you have a passionate and “audible” worship service.

Gene Houck is the national sales manager for Audix Microphones, www.audixusa.com.  A worship leader himself, he also handles the Christian Artist Relations for Audix.

One of the most obvious advantages of having a wireless microphone is having the freedom to move around without tripping over a cable. And today, there are even greater advantages, such as improved sound quality, reliability, and, above all, affordability.

Handheld, Lavalier or Both?
Choosing the right wireless system depends a lot on your individual church and how you will be using the system. For speech, most church leaders find it beneficial to use a lavalier or “tie-clip” microphone with a bodypack transmitter. These microphones usually have a condenser element sensitive enough to pickup a whisper. However, many vocalists favor the sound and feel of a handheld microphone with a built-in transmitter. This allows them to apply the same microphone technique they previously used with a wired microphone.

UHF or VHF?

As with any new technology, there can be some challenges, such as whether to go UHF or VHF, and making sure your wireless systems won’t interfere with one another. For instance, if your church uses an Assistive Listening Device, make sure your new wireless microphone system operates on a different frequency.

In some large sanctuaries, it’s not unusual to have anywhere from five to 10 wireless systems on at the same time. However, these systems do not operate on the same frequency at once. If they did, the transmitter signals would only cancel each other out, resulting in a distorted signal to the receiver.

Jennifer Skates is the copywriter for Long’s Electronics, www.longselectronics.com.

Product Roundup

SMK4061 by DPA
The SMK4061 Stereo Microphone Kit is a cost-effective and flexible stereo recording solution for project studios and for discreet mic setup on stage. The SMK4061 includes:
* Two DPA 4061s omnidirectional miniature microphones with a variety of mounting accessories
* BLM6000 Boundary Layer Mount, which can be used with any of DPA’s miniature mics on a reflective boundary
* DMM007 soft rubber holder, which allows mics to be mounted on all types of instruments, from acoustic guitar to grand piano to drums
The system produces high sensitivity, clarity and intelligibility.
www.dpamicrophoneusa.com

Digicom by Eartec
Digicom is a revolutionary full duplex wireless that provides simultaneous talk communications. These digital transceivers:
* Are not voice-activated
* Have no buttons to push
* Are as easy to use as a regular telephone
To operate the system, simply turn the units "on" and talk through the headsets. A full line of headsets is available.
www.eartec.com

Audix VX-5
Audix has announced the release of the VX-5, a stylish and innovative hand-held vocal condenser microphone designed to handle a wide variety of applications. With a smooth frequency response of 40 Hz – 16.5 kHz (plus or minus 3 dB), the VX-5 features:
* A14mm gold vapor diaphragm
* A supercardioid polar pattern
* A -10 dB pad and bass roll-off filter
* A specially ported steel mesh grill screen
Operation requires phantom power of 9-52 volts.
www.audixusa.com

Wireless Microphone Systems from TOA Electronics
TOA Electronics, Inc. has expanded their wireless microphone system lineup. The new 5000 Series operates in the 692-722 Mhz band with up to 16 simultaneous systems. Transmitter options include:
* The WM-5220 condenser handheld
* WM-5320 lapel
* WM-5320H vocal headset
* WM-5320A aerobic headset
The new 200/300 Series are complete wireless system packages ideal for vocal or presentation applications.
www.toaelectronics.com